Linguistics and English Language (LEL)http://hdl.handle.net/10283/154
Wed, 19 Dec 2018 09:43:36 GMT2018-12-19T09:43:36ZLinguistics and English Language (LEL)http://datashare.is.ed.ac.uk:80/bitstream/id/49235/http://hdl.handle.net/10283/154
Shilluk Lexicography With Audio Datahttp://hdl.handle.net/10283/3218
Shilluk Lexicography With Audio Data
This archive represents a resource on the lexicon of Shilluk, a Nilo-Saharan language spoken in South Sudan. It includes a table of 2530 lexicographic items, plus 10082 sound clips. The table is included in pdf and MS Word formats. For each entry, we present: (a) the entry form (different for each word class, as explained below); (b) the orthographic representation of the entry form; (c) the paradigm forms and/or example(s); and (d) a description of the meaning. This collection was built up from 2013 onwards. The majority of entries were added between 2015 and 2018, in the context of the project “A descriptive analysis of the Shilluk language”, funded by the Leverhulme Trust (RPG-2015-055). The main two methods through which the collection was built up are focused lexicography collection by semantic domain, whereby we would collect e.g. words relating to dwellings / fishing / etc., and text collection, whereby we would add entries as we came across new words in the course of the analysis of narrative text. We also added some words on the basis of two lexicographic studies on Shilluk: Heasty (1974) and Ayoker & Kur (2016). We estimate that we drew a few hundreds from each. Comparing the lexicography resource presented here with these two resources, our main contribution is detail, in that we present information on the phonological form and on the grammatical paradigm. In addition, the phonological representations are made accountable through the inclusion of sound clips. Included in a separate folder are the recordings for cattle terms, collected by Amy Martin as part of her Hons dissertation research project. These cattle terms are not included as entries in this document; they are listed in her dissertation (Martin 2018). Further details can be found at the beginning of the ShillukLexicography.docx/pdf. Amy Martin kindly agreed to release her data, namely the sound clips containing words relating to cattle, under the same Creative Commons Attribution licence as the rest of the data provided here.
Tue, 13 Nov 2018 10:17:29 GMThttp://hdl.handle.net/10283/32182018-11-13T10:17:29ZCase study of an adult Polish native speaker under attrition from Englishhttp://hdl.handle.net/10283/3207
Case study of an adult Polish native speaker under attrition from English
This MSc dissertation investigated first-language attrition in the Polish speech of an adult Polish native speaker who has been living in Scotland for eight years. The hypotheses of the study assumed that the subject would display attrition in the areas of interface: anaphora, pronoun mapping, strong and weak personal pronouns, as well as possessive and possessive-reflexive pronouns. The subject performed 4 test for this analysis: (1) story-retelling task to retell a well-known story (2) written grammatical tests (3) verbal fluency tasks (4) personal history retelling. The data for tests 1-3 are provided here. The data for test (4) has not made public. See the attached README file for more details.
Tue, 30 Oct 2018 14:33:41 GMThttp://hdl.handle.net/10283/32072018-10-30T14:33:41ZAcoustic transitions in Khmer word-initial clusters: audio recordingshttp://hdl.handle.net/10283/3198
Acoustic transitions in Khmer word-initial clusters: audio recordings
This dataset contains 24-bit, 44.1 KHz audio recordings of 10 speakers of Phnom Penh Khmer (3 female) producing 79 lexical items 3 times each at two self-selected speech rates. Recordings were made in Phnom Penh, Cambodia in January 2013 using a Marantz PMD-661 solid state recorder and a Beyerdynamic Opus 55.18 Mk II omnidirectional headset condenser microphone fitted with a CV 18 pre-amplifier. Segmented Praat TextGrids are also included.
Tue, 16 Oct 2018 12:42:31 GMThttp://hdl.handle.net/10283/31982018-10-16T12:42:31ZShilluk_2016_controlled_ThreeLevelVowelLengthhttp://hdl.handle.net/10283/3166
Shilluk_2016_controlled_ThreeLevelVowelLength
The primary data in this dataset are audio recordings (wav format). They are utterances in the Shilluk language (Nilo-Saharan, South Sudan), recorded from 8 speakers, collected through controlled elicitation. The data were collected in order to investigate the phonological contrast between short, long, and overlong vowels in Shilluk. This dataset forms the basis of the paper "Three-level vowel length in Shilluk" authored by Remijsen, Ayoker, & Jørgensen which has been provisionally accepted for publication in Phonology. Apart from the primary data, the dataset includes various datatypes produced in the course of acoustic processing and analysis (TextGrid, Pitch, PitchTier, and Formant objects). The composition of the dataset is explained in the readme document.
Fri, 24 Aug 2018 15:13:54 GMThttp://hdl.handle.net/10283/31662018-08-24T15:13:54Z"Pentaset" Datahttp://hdl.handle.net/10283/3163
"Pentaset" Data
This dataset accompanies the paper "The Pentaset: identifying referential state primitives" by Erwin Komen, Bettelou Los and Ans van Kemenade.
Thu, 23 Aug 2018 08:15:49 GMThttp://hdl.handle.net/10283/31632018-08-23T08:15:49ZOnset pitch perturbations and the cross-linguistic implementation of voicing: supplementary materialshttp://hdl.handle.net/10283/3160
Onset pitch perturbations and the cross-linguistic implementation of voicing: supplementary materials
This dataset contains supplementary materials to the paper "Onset pitch perturbations and the cross-linguistic implementation of voicing: evidence from tonal and non-tonal languages", published in the Journal of Phonetics. It contains CSV data files and R code necessary to replicate the analyses reported in the paper, along with a PDF containing plots and post-hoc comparisons.
Fri, 17 Aug 2018 15:59:19 GMThttp://hdl.handle.net/10283/31602018-08-17T15:59:19ZUp or down? Resolving agreement in copular sentenceshttp://hdl.handle.net/10283/3052
Up or down? Resolving agreement in copular sentences
These files contain the anonymised raw data from 7 experiments developed and run for the BA-funded project "Up or Down? Resolving agreement in copular clauses. There are 2 sets of data - one from a production task and one from a grammaticality judgment task - for each of Dutch, German, and Faroese. There is 1 set of data from a grammaticality judgment task for Icelandic.
The study investigated possible patterns of agreement in copular sentences in which there were two nominals different in either person or number or both (e.g. "The source of the rumour was/were your neighbours"; "My only hope is/are you"). The particular focus of the study was the possible contrasts between agreement with 3rd person pronouns and non-3rd person pronouns ("The problem is/are they" vs "The problem is/are you"). In all of the languages investigated in the study (Dutch, German, Faroese, Icelandic) prior research indicated that at least some speakers produce agreement for number with the second noun phrase ("The source of the rumour were your neighbours") in contrast to English, where agreement with the first noun phrase is strongly preferred. What this study adds is information about possibilities for person agreement.
Wed, 28 Mar 2018 13:44:37 GMThttp://hdl.handle.net/10283/30522018-03-28T13:44:37ZA Parsed Linguistic Atlas of Early Middle Englishhttp://hdl.handle.net/10283/3032
A Parsed Linguistic Atlas of Early Middle English
A parsed version of part of the Linguistic Atlas of Early Middle English (LAEME), annotated in the format of the Penn Parsed Corpora of Historical English. Contains 68 texts (172,624 words), representing one version of each text of >100 words from 1250-1325 included in LAEME.
Fri, 23 Feb 2018 15:52:04 GMThttp://hdl.handle.net/10283/30322018-02-23T15:52:04ZSetting up the correspondence analysishttp://hdl.handle.net/10283/2942
Setting up the correspondence analysis
The HTML-document takes the reader through the process of creating a unigram correspondence analysis with "R"; the accompanying .csv files provide the input. This documentation accompanies the forthcoming publication: Los, B., & Lubbers, T. (submitted). Syntax, text-type, genre and authorial voice in Old English: A data-driven approach. In K. Bech, & R. Möhlig-Falke (Eds.), Grammar – Discourse – Context: Widening the Horizon for a Theory of Grammatical Change. (Discourse Patterns). Berlin: Mouton de Gruyter.
Mon, 06 Nov 2017 12:47:07 GMThttp://hdl.handle.net/10283/29422017-11-06T12:47:07ZOn the r>h shift in Kiên Giang Khmer: supplementary materialshttp://hdl.handle.net/10283/2940
On the r>h shift in Kiên Giang Khmer: supplementary materials
This dataset contains supplementary materials to the paper "On the r>h shift in Kiên Giang Khmer" (Journal of the Southeast Asian Linguistics Society 10.2). It includes anonymised perception and production data (as CSV files) and R code to reproduce the figures and analyses described in the paper. The original anonymised audio recordings and associated Praat TextGrids are also available as a separate DataShare entry - http://dx.doi.org/10.7488/ds/2075.
Tue, 31 Oct 2017 16:21:31 GMThttp://hdl.handle.net/10283/29402017-10-31T16:21:31ZCorrespondence Analysis of Old English textshttp://hdl.handle.net/10283/2924
Correspondence Analysis of Old English texts
This dataset includes correspondence plots, based on 10 most frequent POS-tag + lexical complementizer unigrams, to accompany Los, B., & Lubbers, T. (submitted). Syntax, text-type, genre and authorial voice in Old English: A data-driven approach. In K. Bech, & R. Möhlig-Falke (Eds.), Grammar – Discourse – Context: Widening the Horizon for a Theory of Grammatical Change. (Discourse Patterns). Berlin: Mouton de Gruyter.
Mon, 16 Oct 2017 14:31:38 GMThttp://hdl.handle.net/10283/29242017-10-16T14:31:38ZOn the r>h shift in Kiên Giang Khmer: audio recordingshttp://hdl.handle.net/10283/2744
On the r>h shift in Kiên Giang Khmer: audio recordings
This dataset contains 24-bit, 44.1 KHz audio recordings of 20 speakers of Kiên Giang Khmer producing 19 lexical items in a carrier frame. Recordings were made in Ngọc Bình village, Ngọc Chúc hamlet, Giồng Riềng district, Kiên Giang province, Vietnam in August 2011 using a Marantz PMD-661 solid state recorder and a Beyerdynamic Opus 55.18 Mk II omnidirectional headset condenser microphone fitted with a CV 18 pre-amplifier. Segmented Praat TextGrids are also included.
Tue, 27 Jun 2017 11:05:26 GMThttp://hdl.handle.net/10283/27442017-06-27T11:05:26ZSocial group effects on communicative conventionshttp://hdl.handle.net/10283/2633
Social group effects on communicative conventions
Supporting data for Atkinson, Mills, and Smith manuscript. Languages differ in their complexity. One possible explanation for this observation is that differences in social factors influence linguistic complexity: languages which are typically used for esoteric communication in small-scale "societies of intimates" exhibit greater complexity as a result of the communicative contexts in which they are employed. We use the techniques from referential communication studies across three experiments to assess the effects of two social group factors thought to influence the esotericity of communication --- group size and amount of communally-shared knowledge --- on the brevity and transparency of linguistic conventions. While we find the more exoteric contexts initially result in longer labels and a greater reliance on more literal descriptive terms, there is no effect of either factor in the longer term, and so no support for the idea that the structure of linguistic conventions is shaped by the groups in which they develop. This dataset contains the labels produced by the participants in Experiments 1 and 2 and the GLMM model outputs.
Wed, 01 Mar 2017 13:28:20 GMThttp://hdl.handle.net/10283/26332017-03-01T13:28:20ZStatistical learning in songbirds - sample songs and spreadsheethttp://hdl.handle.net/10283/2182
Statistical learning in songbirds - sample songs and spreadsheet
This data set contains 20 songs for each experimental bird from the last day of song development (day 120) before recording was stopped. Also included is a doc file with bird IDs and training dates and more detailed spreadsheet of lab notes and examples of sonograms of adult songs.
Wed, 09 Nov 2016 12:41:12 GMThttp://hdl.handle.net/10283/21822016-11-09T12:41:12ZEffects of obstruent voicing on vowel F0: supplementary materialshttp://hdl.handle.net/10283/2124
Effects of obstruent voicing on vowel F0: supplementary materials
This dataset contains supplementary materials to the paper "Effects of obstruent voicing on vowel F0: Evidence from 'true voicing' languages", published in the Journal of the Acoustical Society of America (http://dx.doi.org/10.1121/1.4962445). It contains audio examples, additional plots and figures, predicted marginal means, and R code to reproduce the figures and analyses in the published paper.
Wed, 12 Oct 2016 09:26:14 GMThttp://hdl.handle.net/10283/21242016-10-12T09:26:14ZLaryngeal contrasts in the Tai dialect of Cao Bằng: supplementary materialshttp://hdl.handle.net/10283/2123
Laryngeal contrasts in the Tai dialect of Cao Bằng: supplementary materials
This dataset contains supplementary materials to the paper "Laryngeal contrasts in the Tai dialect of Cao Bằng", published in the Journal of the International Phonetic Association (http://dx.doi.org/10.1017/S0025100316000293). It contains a number of audio examples as well as CSV data and R code necessary to replicate the analyses reported in the paper.
Tue, 11 Oct 2016 16:08:06 GMThttp://hdl.handle.net/10283/21232016-10-11T16:08:06ZData for Smith, Perfors, Feher, Samara, Swoboda & Wonnacott (forthcoming), ”Language learning, language use, and the evolution of linguistic variation”, to appear in Philosophical Transactions of the Royal Society B (forthcoming as of 9th August 2016)http://hdl.handle.net/10283/2081
Data for Smith, Perfors, Feher, Samara, Swoboda & Wonnacott (forthcoming), ”Language learning, language use, and the evolution of linguistic variation”, to appear in Philosophical Transactions of the Royal Society B (forthcoming as of 9th August 2016)
Tue, 16 Aug 2016 16:35:25 GMThttp://hdl.handle.net/10283/20812016-08-16T16:35:25ZTone-melody correspondence in Vietnamese popular song: supplementary materialshttp://hdl.handle.net/10283/2047
Tone-melody correspondence in Vietnamese popular song: supplementary materials
This dataset contains supplementary materials to the paper "Tone-melody correspondence in Vietnamese popular song", published in the proceedings of the 5th International Symposium on Tonal Aspects of Languages [TAL-2016]. It contains CSV data collected from a corpus of 20 Vietnamese songs, as well as R code to replicate the analysis reported in the paper.
Tue, 05 Jul 2016 16:19:33 GMThttp://hdl.handle.net/10283/20472016-07-05T16:19:33ZIncipient tonogenesis in Phnom Penh Khmer: audio recordingshttp://hdl.handle.net/10283/880
Incipient tonogenesis in Phnom Penh Khmer: audio recordings
This dataset contains 24-bit, 44.1 KHz audio recordings of 16 speakers of Phnom Penh Khmer made as part of the study "Incipient tonogenesis in Phnom Penh Khmer: acoustic and perceptual studies". All recordings were made in Phnom Penh, Cambodia in July 2011 using a Marantz PMD-661 solid state recorder and a Beyerdynamic Opus 55.18 Mk II omnidirectional headset condenser microphone. Segmented Praat TextGrids are also included.
Mon, 02 Nov 2015 14:35:50 GMThttp://hdl.handle.net/10283/8802015-11-02T14:35:50ZAcoustic transitions in Khmer word-initial clusters: supplementary materialshttp://hdl.handle.net/10283/879
Acoustic transitions in Khmer word-initial clusters: supplementary materials
This dataset contains production data (in CSV format) and accompanying R code to reproduce the analyses reported in Kirby, J. (2014). Acoustic transitions in Khmer word-initial clusters. In S. Fuchs et al. (Eds.), Proceedings of the 10th International Seminar on Speech Production (ISSP), pp. 230-233.
Mon, 02 Nov 2015 14:21:52 GMThttp://hdl.handle.net/10283/8792015-11-02T14:21:52ZIncipient tonogenesis in Phnom Penh Khmer: supplementary materialshttp://hdl.handle.net/10283/878
Incipient tonogenesis in Phnom Penh Khmer: supplementary materials
This dataset contains supplementary materials to the paper "Incipient tonogenesis in Phnom Penh Khmer: acoustic and perceptual studies". It includes KlattGrid files used to generate perceptual data, anonymised perception and production data (as CSV files), and R code for the analysis of the perception and production studies described in the paper. The audio recordings and associated Praat TextGrids are also available as a separate DataShare entry.
Mon, 02 Nov 2015 13:51:59 GMThttp://hdl.handle.net/10283/8782015-11-02T13:51:59ZPragmatics of contrastive stress: experimental recordingshttp://hdl.handle.net/10283/873
Pragmatics of contrastive stress: experimental recordings
This dataset contains the audio recordings that were used as part of three experiments on the effect of contrastive stress on pragmatic enrichment. The goals of the experiments, the properties of the recorded sentences, and the results are reported in Cummins, C. & Rohde, H. (submitted). "Evoking context with contrastive stress: effects on pragmatic enrichment". Frontiers in Psychology, Special Issue on Context. In this dataset, the recordings for the three experiments are labeled as: stimuli-implicature.tgz, stimuli-presupposition.tgz, and stimuli-coreference.tgz. Each zip file contains a set of .wav files: one sound file per sentence; the file names indicate the target word. Chris Cummins made the recordings at the University of Edinburgh in a sound-attenuated booth. He is a native speaker of British English. His intonation reflects his intention to convey an intended meaning (rather than a pre-specified intonation contour with pitch accent varied only on one word).
Wed, 21 Oct 2015 13:25:58 GMThttp://hdl.handle.net/10283/8732015-10-21T13:25:58ZShilluk_TongaDialect_June2014ToJuly2015_LexicographyInProgresshttp://hdl.handle.net/10283/829
Shilluk_TongaDialect_June2014ToJuly2015_LexicographyInProgress
This submission contains lexicographic materials on Shilluk, in a table format, and recordings on which these lexicographic data are based. For each of over 530 lemmas, we provide a phonological transcription (field1), an orthographic transcription (field2), word class identification (field3), illustrative forms (field4), and explanation of the meaning (field5). When a form is underlined, this means that it has been recorded. These recordings are also included. These audio recordings represent the voice of the second author, a native speaker of Shilluk who grew up in Tonga, the southernmost Shilluk town; they are also made publicly available. The phonological analysis on which the transcription is based is laid out in Remijsen, Ayoker & Mills (2011). This analysis was later revised in relation to the tone system (Remijsen & Ayoker 2014). The data in this dataset were collected from June 2014 to July 2015.
Tue, 28 Jul 2015 11:10:12 GMThttp://hdl.handle.net/10283/8292015-07-28T11:10:12ZMatbat_MageyDialect_2003_Lexicographyhttp://hdl.handle.net/10283/796
Matbat_MageyDialect_2003_Lexicography
This document presents lexicographic data on Matbat (language code: xmt), a language spoken on the island Misol, in the Raja Ampat islands, which is part of the Papua Province of Indonesia. The dialect represented here is the one of the village of Magey, on the Southeast side of the island. The main part of the document is an alphabetic listing of more than 1000 lexicographic entries. Many entries are illustrated with examples. A capital sigma signposts non-elicited examples, i.e., spontaneous speech. Most of the material was collected during a 2-month fieldwork trip to May, during the second quarter of 2003; some was collected during two earlier fieldwork trips, in 1998 and in 2000. The data were collected from several speakers.
Wed, 17 Jun 2015 16:17:40 GMThttp://hdl.handle.net/10283/7962015-06-17T16:17:40ZMaryBodhiAkany_songKebDanceOfPapwojohttp://hdl.handle.net/10283/719
MaryBodhiAkany_songKebDanceOfPapwojo
The recording at the center of this item is a Shilluk song. Keb is a dance in which people dance without drum beats. But the person who leads the song must have a strong voice, sometimes the song is led by two people. This song shows that Papwojo Youth have increased in number, and they need more dancing mates, so the composer starts the song by asking permission from the youth leader to allow him to compose this song, because he knew that the song will motivate the youth. The composer says: Papwojo Youth dance well; small girls wish to grow up fast so that they dance with Papwojo Youth. The composer says that Papwojo is a strong village; it killed a lion alone while its neighbor, Ayijdhajo, feared to fight the lion.
Mon, 23 Feb 2015 09:45:22 GMThttp://hdl.handle.net/10283/7192015-02-23T09:45:22ZLuciaOywalAtitker_songGovernanceInSouthSudanParts1&2http://hdl.handle.net/10283/718
LuciaOywalAtitker_songGovernanceInSouthSudanParts1&2
The recordings at the center of this item are two Shilluk songs. When South Sudan got its independence, every South Sudanese became happy because that came after a very struggle. But before long, politicians began to fight over power and this caused a terrible war that killed thousands of people. The war is continuing and people are dying. The composer is saying that this should not happen and it must stop.
Mon, 23 Feb 2015 09:40:24 GMThttp://hdl.handle.net/10283/7182015-02-23T09:40:24ZGeorgeAgyethDaak_songKingAyanghttp://hdl.handle.net/10283/717
GeorgeAgyethDaak_songKingAyang
The recording at the center of this item is a Shilluk song. King Ayang Anay was elected king in 1974. He was young at the time, but he was married; and marriage qualified him to become king. But some villages delayed; they did not go to pay tribute, complaining that he was young. Ayang’s mother is from Pachodo District, so, Pachodo people hurried to pay him tribute. The composer who is also from the Pachodo area is saying that those who complained will not be able to come to Pachodo Village to remove Ayang from power by force, because people of Pachodo area will not allow that to happen.
Mon, 23 Feb 2015 09:26:15 GMThttp://hdl.handle.net/10283/7172015-02-23T09:26:15ZMaryAwowAdyejak_songAnnounceTheMarriagehttp://hdl.handle.net/10283/716
MaryAwowAdyejak_songAnnounceTheMarriage
The recording at the center of this item is a Shilluk song. In this song, the composer is challenging a young man who wanted to marry a girl, but he could not do so because he had no cows at that time. So, the composer puts the words into the girl's mouth saying, "My brother, announce the marriage. I would serve you". And she added that her parents would surely accept the request from him to marry their daughter. Then the composer decided to marry that girl, and she accepted him.
Mon, 23 Feb 2015 09:23:29 GMThttp://hdl.handle.net/10283/7162015-02-23T09:23:29ZMaryBodhiAkany_songWomenOfNyibodohttp://hdl.handle.net/10283/715
MaryBodhiAkany_songWomenOfNyibodo
The women of Nyibodo love their husbands very much because they are lacking nothing in their houses. When Nyikango quarrelled with Okwer son of Jiw, the ancestor of Kwawaang clan, they separated and Nyikango moved ahead to leave in Nyilwal, Panyikango. But Nyikango asked Okwer not to forget their friendship by giving him hippo meat every year. This agreement is respected up to this day. When men go hunting and bring the hippo meat to Nyibodo, women prepare it and place it in canoes so that it is rowed to Pachodo; so, women are important here in this work.
Tue, 17 Feb 2015 10:46:09 GMThttp://hdl.handle.net/10283/7152015-02-17T10:46:09ZSpeaker_input_variability_raw_datahttp://hdl.handle.net/10283/713
Speaker_input_variability_raw_data
Supporting data for Atkinson, Kirby, and Smith (in preparation). Speaker input variability does not explain why larger populations have simpler languages: raw data for Experiments 1 and 2. Languages spoken by more people appear to be structurally more simple, but it is not clear why this would be the case. This study investigates one possible explanation. It has been proposed that learning in a larger community results in a learner receiving their input from a greater number of speakers. This will increase the variability of the input, and we test the proposal that this in turn may make more complex grammatical features more difficult to transfer from generation to generation.
Mon, 09 Feb 2015 15:03:57 GMThttp://hdl.handle.net/10283/7132015-02-09T15:03:57ZMaryBodhiAkany_songNyibodoYouthSonghttp://hdl.handle.net/10283/706
MaryBodhiAkany_songNyibodoYouthSong
The recording at the center of this item is a Shilluk song. The young men of the village of Nyibodo, from the house of Awunkwey, were dancing with girls from Atigo, a nearby village. But the youth from the Amaylidh house – which is part of the Kwawaang clan, just like the house Awunkwey – wanted to get to the same girls. This song was composed to tell the Amaylidh house that they will not succeed, and that the girls themselves will tell them that they will not dance with the men from the Amaylidh house. The composer calls that house ‘the house of acwobo’ which means that they have no cows and do not go hunting or fishing, so they eat grass. The girls in question will not even accept to be married to that house (of acwobo grass).
Tue, 03 Feb 2015 10:40:21 GMThttp://hdl.handle.net/10283/7062015-02-03T10:40:21ZMaryBodhiAkany_songFuneralSongForChiefAwaakjokhttp://hdl.handle.net/10283/704
MaryBodhiAkany_songFuneralSongForChiefAwaakjok
The recording at the center of this item is a Shilluk funeral song. Chief Awaakjok was the chief of Papwojo Village in Tonga District. Awaakjok was the chief during the first war (1955-1972), and he protected Papwojo during that war. When the second war came (1983-2005), Papwojo was burnt by the Arabs, so the composer says that if Awaakjok had been there, he would not allow this to happen. Chief Awaagjok was like a king; because Papwojo is bordering Nuba to the north, Dinka to the west and Nuer to the south; all these people come to the Shilluk land in the dry season. They take permission from the chief of Papwojo who reports to the paramount chief of Tonga, who in turn reports to the king. The Kwa-othuro clan are in-charge of the oak tree. The Shilluk make boats and drums out of that hard tree, and nobody can cut the tree without permission from the Kwa-óthuro clan.
Wed, 28 Jan 2015 10:39:19 GMThttp://hdl.handle.net/10283/7042015-01-28T10:39:19ZGeorgeAgyethDaak_songTheBoatOfTheArabhttp://hdl.handle.net/10283/703
GeorgeAgyethDaak_songTheBoatOfTheArab
The recording at the center of this item is a Shilluk song. A boat carrying army went from Malakal to Akorwa in Mwomo in July 1965, and took every good thing into the boat. Then the army burnt the shrine, and Akorwa Village. The boat caught fire on its way to Malakal, and sank in front of Odaango Village. So, King Kur went to Omdurman to complain to the Imam of Ansar for destroying their religious and cultural sites. Then the two leaders went to the government to complain. The government stopped forcing the people to become muslims in the south. Joseph Nyayang, the composer was in Bur Village when Nyikango’s shrine in Akorwa was burnt. So, he was tempted to compose a song about the incident, but he resisted the idea because he is a Christian and did not want to compose songs about Nyikango. Then he became very ill and lost the taste of everything (his grain beer became dirty). He became so weak that he gave in and went to the centre of the village and started singing this song; he thought that Nyikango was angry with him because he didn't want to sing the song that came to him concerning the incident.
Wed, 28 Jan 2015 10:35:27 GMThttp://hdl.handle.net/10283/7032015-01-28T10:35:27ZGeorgeAgyethDaak_songAjyangAndAkichttp://hdl.handle.net/10283/702
GeorgeAgyethDaak_songAjyangAndAkic
The recording at the center of this item is a Shilluk song. Ajyang and Akic were chiefs of Detwok. The army killed those two chiefs and burnt Detwok Village on 30 September 1964. The informants were Shilluks; they guided the Arabs and gave information about individuals or villages that have welcomed the Anya Nya. Those who took the army to Detwok were Shilluks. Each of them used to be given a sack of dura after every betrayal. They killed people, burned villages and shrines for just one sack of dura. Ajyag and Akic were not afraid to face death in defense of their village; they were like a shelter. The educated South Sudanese were targeted and killed, but all the teachers and officials who had no relations with Anya Nya, were exiled to Northern Sudan. The composer predicted that the Arabs will go and the exiled children of God will come back home; this is what happened in 1972 after the Addis Agreement.
Wed, 28 Jan 2015 10:31:43 GMThttp://hdl.handle.net/10283/7022015-01-28T10:31:43ZAmaliaAyulDeng_songVisitingKingKwongohttp://hdl.handle.net/10283/688
AmaliaAyulDeng_songVisitingKingKwongo
The recording at the center of this item is a Shilluk song. Kwongo became king after the demise of King Ayang Anay in 1992. King Kwongo built his house in Silki in Omdurman. The women of Takamol went to visit King Kwongo in 1994, when he came to Khartoum. In this song, the composer is saying King Kwongo’s education helped him to know the “Writing of God” meaning the will of God, which means good governance for a king.
Tue, 06 Jan 2015 10:12:50 GMThttp://hdl.handle.net/10283/6882015-01-06T10:12:50ZAmaliaAyulDeng_songFuneralSongForKingAyanghttp://hdl.handle.net/10283/687
AmaliaAyulDeng_songFuneralSongForKingAyang
The recording at the center of this item is a Shilluk song. The King Ayang Anay had a house in Haj Yousif. So, when he went to the other side of the river [= died, BR] in 1992, the women of Takamol went for his funeral; the King was buried in Owiykyeel, his village in Pachodo District. But traditionally people go to the nearest place where the king had a house or where he rested in his lifetime. The composer is crying for King Ayang who was brave and protected the Shilluks during the war. But also she acknowledged that “mal ba mi Jwøk/ the surface of the earth belongs to God”: nobody remains on it. See metadata file for details on the genre.
Tue, 06 Jan 2015 10:10:07 GMThttp://hdl.handle.net/10283/6872015-01-06T10:10:07ZMaryBodhiAkany_songFuneralSongForAbinykwechttp://hdl.handle.net/10283/683
MaryBodhiAkany_songFuneralSongForAbinykwec
The recording at the center of this item is a Shilluk song. It is a funeral song (Shilluk "ayaar") about Gwado Ayoker from Nyibodo village, which is part fo the Tonga district. Awook, Nyikwec and Abinykwec are his bull's names. The bull's colour is like that of leopard 'kwec'. His Christian name is Mariano. All these names are mentioned in this song. He was the only teacher from Nyibodo at his time. The composer says: Now that he is dead, nobody in Nyibody will read any book/letter sent to the chief, or to anybody in the village. Abinykwec son of Ayoker was an evangelist and taught in village school. He was humble and a man of vision. The song mixes Christian and traditional beliefs, and this is very unusual; the song calls Shilluk land as: land of Nyikango and land of God Almighty.
Mon, 05 Jan 2015 15:41:12 GMThttp://hdl.handle.net/10283/6832015-01-05T15:41:12ZAmaliaAyulDeng_songTheBuffaloOfTakamolhttp://hdl.handle.net/10283/682
AmaliaAyulDeng_songTheBuffaloOfTakamol
The recording at the center of this item is a Shilluk song. Shilluk people love one another and are united wherever they are found. During the war that started in 1983, many people left their homes and went to live in northern Sudan. Women formed their social groups and each group chose a name. The women of Takamol Haj Yousif called themselves Ógïg/Buffalo. This song was the first for the women of Takamol. It was composed for the purpose of going to beg for a cow from Otwongo Jwaj in Takamol in 1992. The women needed a bull for their first celebration. They went to Otwongo house and spent the night, singing and dancing. Yes, Otwongo Kwajyalo gave a bull.
Mon, 05 Jan 2015 15:35:33 GMThttp://hdl.handle.net/10283/6822015-01-05T15:35:33ZPeterPaulinoTwong_songPakangMarchingSonghttp://hdl.handle.net/10283/679
PeterPaulinoTwong_songPakangMarchingSong
The song at the center of this item is a Shilluk song. Marching songs are about the courage and strength of a village or a group. They are warriors’ songs that are sung when people are marching for war, or going to fight a fierce animal like a lion, elephant or leopard. People had no guns, so when an animal killed a cow, people start a war call, and everybody runs there with his shield and spears. Men from nearby villages come running. When all the people arrive, they divide themselves into smaller groups. And go to attack the animal that will be hiding in the grass. This Pakang Marching Song is about a lion that ate a cow near the village and then went away into the Forest of Abayo. Then Pakang and Obay villages decided to follow the lion. They followed its foot-prints in the ashes of the burnt grass. When they found it in Abayo Forest, the fighting began; the lion wounded many people from the two villages, but they killed it. Pakang and its neighbour Obay, were enemies, but they went together to fight with the lion. So, the composer called the two villages "Ágag" crow that ate the lion. And nobody will separate them after that war with the lion. True, Pakang and Obay remained friends since that time; 1917 which was the first year of King Gwang in power.
Thu, 18 Dec 2014 17:11:41 GMThttp://hdl.handle.net/10283/6792014-12-18T17:11:41ZPeterPaulinoTwong_songKebDanceOfPakanghttp://hdl.handle.net/10283/676
PeterPaulinoTwong_songKebDanceOfPakang
The recording at the center of this item is a Shilluk song. Keb is a dance in which people dance without drum beats. But the person who leads the song must have a strong voice, sometimes the song is led by two people. This song is a very famous one. It is a very old song, but it remained through many age-sets and up to now, it is sung during the dances in marriages. Pakäng is a big village, it is almost in the middle of Panyikango District. Pakäng remained very strong through ages. So, this këb song gives a true picture of that village.
Tue, 09 Dec 2014 10:52:56 GMThttp://hdl.handle.net/10283/6762014-12-09T10:52:56ZOttoGwadoAyoker_songWritinghttp://hdl.handle.net/10283/675
OttoGwadoAyoker_songWriting
The recording at the center of this item is a Shilluk song. In early 1996, the Shilluk Language Council was divided among itself over the chair, while the literacy team and the Bible Translation team were very active. I was not happy with what the elders were doing. So, I made this song and sang it first in June 1996, at the closing ceremony of 1 & 2 Samuel Workshop in Omdurman. Then I sang it to the leaders at the Unity High School in Khartoum. The song was encouraging because it challenged everybody to contribute to the work being done by the people mentioned in the song.
Mon, 01 Dec 2014 12:55:07 GMThttp://hdl.handle.net/10283/6752014-12-01T12:55:07ZAndrewWanhMayik_songFuneralSongForJagoAyokerhttp://hdl.handle.net/10283/674
AndrewWanhMayik_songFuneralSongForJagoAyoker
The recording at the center of this item is a Shilluk song. The composer of this funeral song of Chief Ayoker is unknown. But people think that it was composed by a relative. The composer was thinking that his relative, Chief Ayoker was bewitched by one of the families who take turn in ruling Acob Village which he calls "Paa Cøllø" in the song. Okyec son of Yor (Chief Ayoker), was highly respected. Moved by the song, Amaylek the brother of Chief Ayoker, went to King Gwang (1917-1944), asking for another chance, because his brother did not rule for a long time. The King gave his family another chance. So, Amaylek became chief in 1940, in place of his brother, Chief Ayoker.
Tue, 25 Nov 2014 09:49:07 GMThttp://hdl.handle.net/10283/6742014-11-25T09:49:07ZAndrewWanhMayik_songGirlsAreTakenhttp://hdl.handle.net/10283/673
AndrewWanhMayik_songGirlsAreTaken
The recording at the center of this item is a Shilluk song. Young men would seek new dancing mates if the girls with whom they dance were taken by another group. They can also seek to win girls from another village if they outnumber the girls with whom they dance. In this song, the young men from Dhøgalal took the girls of the house of Amaylidh in Nyibodo from the young men of Papwojo, because they outnumbered their dancing mates. They convinced Nyacyangjwok, the leader of the girls, to reject Papwojo youth because they are fishermen. That they are like Palata and Mathany tribes that live on fish; they smell bad.
Tue, 25 Nov 2014 09:45:56 GMThttp://hdl.handle.net/10283/6732014-11-25T09:45:56ZAndrewWanhMayik_songTheSongOfDibalohttp://hdl.handle.net/10283/651
AndrewWanhMayik_songTheSongOfDibalo
The recording at the center of this item is a Shilluk song. The Mahdists entered Khartoum on 28 January 1885. And the Mahdi declared an Islamic State with its capital in Omdurman. Mahdi died in June the same year and Khalifa Abdalla took over. Khalifa Abdalla sent Al-Zaki Thamal to convert the Shilluk people to Islam in 1890. King Yor Akoc welcomed him. Al-Zaki was very happy and went back to tell the Khalifa that the Shilluk people accepted the Islam and will pay taxes. King Yor did not order the Shilluk to become muslims but to be ready to fight the Mahdists when they come back in the following year. Al-Zaki came back and the Shilluk fought with him. He killed many people because he had guns. The fighting started in Kodok. Some of the Shilluk villages did not fight well, so the Shilluk king was pushed to the south until he reached Tonga. This song is telling how some villages conspired with the enemy to kill the people of Dibalo, which is part of Nyibanyo, within the Tonga cluster of villages. The conspiring villages sent a message to the people of Dibalo that Al-Zaki, the Mahdist leader says that people should go to Chief Gokwec for safety. And people went to Gokwec Village. But when Al-Zaki entered that village (the village of Chief Gokwec) in March 1892, he killed all the people. King Yor Akoc surrendered after the Dibalo massacre. He was led to Kodok and was killed. Then Al-Zaki declared Kur Nyidhok, whom he brought from El-Obeid, as the Shilluk King. Then he went back to Omdurman. But he could not come back as he promised, because the British returned to the Sudan in 1896 with Horatio Kitchener as commander of the Anglo-Egyptian army. He defeated the Mahdists in the battle of Karari on September 2, 1898. After Al-Zaki’s departure, the elders took prince Kur to the river and ordered him to take bath. When he took off his clothes, they saw that he was not circumcised, so he was accepted as King.
Mon, 10 Nov 2014 15:18:16 GMThttp://hdl.handle.net/10283/6512014-11-10T15:18:16ZNyadhongoTwongObany_songKingKwongohttp://hdl.handle.net/10283/650
NyadhongoTwongObany_songKingKwongo
The recording at the center of this item is a Shilluk song. King Kwongo Daak is the present Shilluk King. The Shilluk King is considered to be of his maternal uncles’ village. And after his installation, he is expected to build his village in the area that belongs to his maternal uncles. But King Kwongo decided not to build his village in Wadajwok from which hailed his mother. He built it in Thworo. In this song, the composer is saying that the people of Thworo are ready to serve the King. And that they will cultivate dura for him because he is their King. The song says that those who oppose Kwongo are just like a crocodile that lives in seasonal river, and cannot come to the Nile.
Mon, 10 Nov 2014 15:10:47 GMThttp://hdl.handle.net/10283/6502014-11-10T15:10:47ZAndrewWanhMayik_songEnergeticDancehttp://hdl.handle.net/10283/641
AndrewWanhMayik_songEnergeticDance
The recording at the center of this item is a Shilluk song. The Dhøgalal young men wanted to win dancing mates. But the girls whom they wanted were already dancing with another group. And those other young men were boasting that they will never lose the girls. They even threatened to use magic. Dhøgalal young men first won the heart of Akwøl Nyanyijak, the leader of the girls. They told her that they will compose many songs and dance to the rhythmic beats of drum with their full energy. And that the group has leg bells that make music that is like the noise made by birds. Dhøgalal won the girls. The magic of the other group did work. So, in this song, both the young men and the girls made fun of them, saying that their magic has become rotten like a rope, and that they were as dirty as the Hadandawa.
Wed, 29 Oct 2014 15:41:37 GMThttp://hdl.handle.net/10283/6412014-10-29T15:41:37ZAndrewWanhMayik_songYouWouldHaveBeenMarriedhttp://hdl.handle.net/10283/640
AndrewWanhMayik_songYouWouldHaveBeenMarried
The recording at the center of this item is a Shilluk song. Young men would seek new dancing mates if the girls with whom they dance were taken by another group. They can also seek to win girls from another village if they outnumber the girls with whom they dance. The young men must first try to win the leader of the girls, who will talk to the girls and convince them to accept the young men as their dancing mates. In this song, the leader of the girls accepted to dance with Dhøgalal youth, because she thought that she would be married. But she did not satisfy the young men; the result was this insulting song which says to the girl: our rich family would have married you, but we are sorry. We know that your family also expected that we could marry you, but now they are crying that cows went away, because we found out that you are an arrogant girl and you are ugly.
Wed, 29 Oct 2014 15:34:28 GMThttp://hdl.handle.net/10283/6402014-10-29T15:34:28ZOttoGwadoAyoker_songJalabiashttp://hdl.handle.net/10283/639
OttoGwadoAyoker_songJalabias
The recording at the center of this item is a Shilluk song. The composer of this song is Amon Tuk Kaal, from Oryang Village, in Mwomo District in the far north. He he was jailed by the Chief of Mwomo for burning the grass in Mwomo plains and dividing it among the people who wanted to cultivate, including non-Shilluks. And when King Kur (1951-1974) went to Mwomo on a visit,Tuk Kaal presented his case in a song which he called Ogwal Ámag yi Ogwal, which means A Frog Caught A Frog” [NB That song is also part of the Collection of Shilluk narratives and songs, performed by Owacci Obwonyo Anay.] The King then released him. Tuk Kaal did not stay in his village after he was released. He was afraid of the chief. So, he went to live in Melut, on the eastern side of the Nile. There in Melut, he became a Muslim. Tuk Kaal was a composer, and his song, ‘ogwal ámag yi ogwal’ made him very popular indeed, because he was encouraging agriculture. [NB That song is also part of the Collection of Shilluk narratives and songs, performed by Owacci Obwonyo Anay - http://datashare.is.ed.ac.uk/handle/10283/543.] He made a mistake by becoming a Muslim. When one becomes a Muslim, he/she must change his/her way of life, and be dressed in jalabia. The composer in this song is urging the Shilluks not to wear the lawø, especially the 'áwaangkaajø'. 'Áwaangkaajø' is a (lawø) cloth worn on the shoulder but it is not big enough to cover the whole body. Shilluk people fought with the Arab Muslims for a long time because they do not accept Islam. Shilluk even consider a circumcised person as defiled. Tuk Kaal became a caller (the man who shouts calling Muslims for prayers) but he failed to convert any Shilluk man to Islam. He made a sharp turn from good to worse. The Shilluk people did not forgive him although he composed songs in which he says that it was a mistake for him to accept circumcision.
Mon, 13 Oct 2014 12:14:06 GMThttp://hdl.handle.net/10283/6392014-10-13T12:14:06ZOttoGwadoAyoker_songFuneralSongForKingKur3http://hdl.handle.net/10283/638
OttoGwadoAyoker_songFuneralSongForKingKur3
The recording at the center of this item is a Shilluk funeral song. King Kur (1951-1974), was also called Along and Nyibek. He is the son of King Gwang (1917-1944). Kur was a peaceful king, who did justice to everyone. He was loved by all the Shilluk people. So, when he died, people cried for him. Ayik Longo, the composer in this song says that he praises Nyikango and his son Daak, for Kur. And he says that those who were depending on the dead king must work hard. To the Padïwäät, The Electoral Council, the composer tells them that the King is gone and they remained. But they must see to it that the successor of King Kur is like him; meaning that they should elect a good king who will continue his policy. If they choose a good king, they are going forward, but if you choose a bad king, they are going backward. The composer also says that he can only pray to Nyikango because the land became bad after Kur’s sad demise. The expression of twara wél "I sweep straw": refers to the act of begging. When one goes to beg something from a person (a goat or a cow) the person who begs usually goes and sweeps in front of the owner’s cattle byre with his hands. Then s/he will come and ask the owner what s/he wants. So, ‘to sweep straw’ is begging. And here the composer is begging Nyikango to lead the Electoral Council to choose a good king like Kur.
Wed, 08 Oct 2014 10:57:51 GMThttp://hdl.handle.net/10283/6382014-10-08T10:57:51ZTupacLaaWol_WarInMalakalhttp://hdl.handle.net/10283/636
TupacLaaWol_WarInMalakal
War started in Juba on December 15, 2013. It reached Malakal on 24 of the same month. In Malakal, pro and anti-government forces clashed at SPLA barracks, the airport, and key locations in town. Nuer forces, who defected from the SPLA, held the town for two days. During the two days fighting, stray bullets killed many innocent civilians. The government recaptured the town on December 27, 2013. Many people fled the town when they heard that the Nuers were coming back in big numbers. They attached the town on February 18, 2014. This time, they killed those who were not Nuers: those who remained in their houses. They also killed those who took refuge in hospitals and in churches. Dogs and donkeys were eating people. The narrator was in Malakal. He ran for his life to the UN base. He is telling what he has seen. The same event is covered in MariaBocayOnak_War [http://datashare.is.ed.ac.uk/handle/10283/545].
Mon, 29 Sep 2014 11:58:59 GMThttp://hdl.handle.net/10283/6362014-09-29T11:58:59Z